LHJ 2020 Travel Narratives and Life-Writing and Travel Narratives Travel Narratives and Life-Writing LINCOLN U N I V E R S I T Y Fall 2020 | Volume 8 LHJ LHJ V The Lincoln Humanities Journal olume 8 The Lincoln Humanities Journal Abbes Maazaoui, Editor Fall 2020 Volume 8 LHJ The Lincoln Humanities Journal Fall 2020 | Volume 8 Travel Narratives and Life-Writing Abbes Maazaoui, Editor Annual publication of Lincoln University of Pennsylvania All rights reserved ISSN 2474-7726 Copyright © 2020 by the Lincoln Humanities Journal The Lincoln Humanities Journal (LHJ) The Lincoln Humanities Journal, ISSN 2474-7726 (print), ISSN 2474-7726 (online), is an interdisciplinary double blind peer-reviewed journal published once a year by Lincoln University of Pennsylvania. Its main objective is to promote interdisciplinary studies by providing an intellectual platform for international scholars to exchange ideas and perspectives. Each volume is focused on a pre-selected theme in the fields of arts, humanities, the social sciences, and contemporary culture. Preference is given to topics of general interest that lend themselves to an interdisciplinary approach. Manuscripts should conform to the MLA style. Submissions may be made by e-mail to the editor at [email protected]. The preferred language is English. The journal is published both online and in print, in November-December of each year. The Lincoln Humanities Journal Fall 2020 | Volume 8 Editor ABBES MAAZAOUI Lincoln University Editorial Board J. KENNETH VAN DOVER Fulbright Scholar ERIK LIDDELL Eastern Kentucky University KIRSTEN C. KUNKLE Co-Founder and Artistic Director, Wilmington Concert Opera HÉDI JAOUAD Professor Emeritus, Skidmore College EZRA S. ENGLING Eastern Kentucky University (Retired) DAVID AMADIO Lincoln University The Lincoln Humanities Journal Fall 2020 | Volume 8 The Lincoln Humanities Journal Fall 2020 | Volume 8 TABLE OF CONTENTS Travel Narratives and Real-Life Fiction: Introduction ABBES MAAZAOUI, Editor 9 I. REAL-LIFE FICTION: MODERN ITERATIONS 19 The Words Are Maps: The Contemporary Hiking Memoir as Life Writing ANN M.GENZALE 21 Deux voyageuses ibériques en Asie centrale: pour une lecture du féminin dans le récit de voyage de notre temps CATARINA NUNES DE ALMEIDA 33 Trips to the Algerian Sahara in the stories of Chawki Amari WARDA DERDOUR 49 Liquid Modernity and Fluid Identity in Caryl Phillips’s Counter Travelogue The Atlantic Sound FELLA BENABED 63 Facts and Fiction in Maurice Herzog's Annapurna AGNIESZKA KACZMAREK 76 II. TRAVEL NARRATIVES: THE COLONIAL GAZE 93 De l’invention du Maure et de l’Amérindien dans Relación de los naufragios y comentarios (1555) d’Alvar Nuñez Cabeza de Vaca ABDERRAHMAN BEGGAR 95 The Lincoln Humanities Journal Fall 2020 | Volume 8 Aboard the Castilia: Clarissine Formation for the New World BERNADETTE MCNARY-ZAK 113 Voyage à l’Isle de France de Bernardin de Saint-Pierre: de la valorisation de la nature au rappel d’une société esclavagiste SONIA DOSORUTH 123 The Island as a Space of Otherness: A Study of Non-Fictional Travel Writing on Mauritius (1830-1909) Under British Rule NEELAM PIRBHAI-JETHA 137 Réalité coloniale et stratégies intellectuelles dans Voyage au Maroc de l’Américaine Édith Wharton SAMIRA ETOUIL 156 III. TRAVEL LITERATURE AND THE IMPOSSIBLE ESCAPE 173 “Whichever Way the Road”: Travel and Agency in August Wilson’s Pittsburgh Plays SARA SCHOTLAND 175 ‘The ocean is always rough, but we are good sailors’: The Travel Experience of Italian Immigrants in Arthur Miller’s A View from the Bridge OLFA GANDOUZ AYEB 191 L’opposition nature-civilisation entre les récits de voyage et les abstractions philosophiques du siècle des Lumières en France MINA APIC 210 SUPPLEMENT 227 My return to Spain, with the Lexington Singers EZRA S. ENGLING 229 Hamlet Joins a Motorcycle Gang: A Contemporary View of the (anti)Hero’s Journey WILLIAM DONOHUE 239 The Lincoln Humanities Journal Fall 2020 | Volume 8 ABSTRACTS 251 NOTES ON CONTRIBUTORS 261 CALL FOR ARTICLES FOR 2021 VOLUME 267 PUBLICATIONS OF THE LINCOLN HUMANITIES JOURNAL 269 SUBSCRIPTION INFORMATION 270 The Lincoln Humanities Journal Fall 2020 | Volume 8 9 Travel Narratives and Real-Life Fiction: Introduction1 ABBES MAAZAOUI Editor The practice of travel writing is almost as old as human history. Humans have always been interested in telling their stories and discovering other “pages”2 of the world.3 From Pausanias to Ibn Battuta, to Marco Polo, to Columbus, this fascination with travel and auto/biography has endured. In sixteenth century Europe, thanks to the combined effect of three great inventions–“the printing press, gunpowder, and the compass”–news about the larger world circulated fast and furious: “The expanded range of movement facilitated by the compass and the dissemination through print of information about new places and peoples were, in a sense, mutually reinforcing” (Voigt and Brancaforte 365). Travel writing captured the heightened attention of readers, writers/navigators and printers so much so the humanists considered it essential in the formation of youth and tried to codify it.4 Subsequently, this perennial interest in travel will explode further, first in the 19th century with the intensification of 1 I would like to thank Lincoln University of Pennsylvania for funding and supporting this project. I would also like to thank the reviewers and contributors for their work on this collection. 2 To paraphrase Saint Augustine, “The world is a book, and those who do not travel write only a page.” 3 This theme was supposed to be a “happy” topic. The coronavirus pandemic (COVIT-19) threw a wrench into our expectations. Communities, states and countries around the world have been forced to close their borders and reject or quarantine any traveler cut in the wrong place at the wrong time. 4 See Sylvain Venayre, Ecrire le voyage: De Montaigne à Le Clézio (Cover page). The Lincoln Humanities Journal Fall 2020 | Volume 8 10 colonial, military and economic schemes, and then in the 20th century with the advent of mass tourism and widespread access to technology (drones, cameras, air travel, web streaming, etc.). “Anyone, at anytime, anywhere, in any language, can ‘write’ literature.” Philippe Hamon’s words apply quite easily to travel narrative and sound even truer today than it did two or three decades ago. This expanded definition of literature allows us to capture briefly some of the fundamental characteristics of travel literature. First, by using literary devices to please their readers (description, imagination to fill in the gaps, anecdotes, etc.), journey accounts have often raised issues of credibility: “Travelers have often had bad press and have been called liars over the centuries” (Jean-Claude Berchet 5).5 Another hallmark of travel writing is its diversity: “anyone” not only can write, but also write in any manner. In an article titled “Odyssées,” Jean-Luc Moreau playfully highlights a number of these attributes: Because there are all kinds of trips, there are all kinds of travel stories . Add to this that the trip is true or imaginary, takes place in the past or in the future, not only on foot, on horseback, . but also in a balloon, in a trimaran . Of course, a traveler will most often tell his trip in the first person, [or] third person . If your heart tells you, nothing prevents you from telling yours in the second person [like] Michel Butor . You can narrate this trip in prose, in verse, even in prose and in verse . You can tell it . in the form of dialogue or in comic strip, in the simple past, in the past perfect or . the infinitive . You can report the facts in chronological order, but you can also choose another layout, go back from the present to the past or group your discoveries by themes . You [can] just throw on the papers simple notes in a telegraphic style or on the contrary, you work your style, you spread your wings . You can zigzag through your memory, 5 See examples p. 5. See also Carey: “The capacity of travel writers to distort the truth–amplifying their observations, claiming credit for what they never witnessed or inventing fabulous narratives wholesale from the imagination rather than experience–has always been recognized” (3). Herodotus for instance was accused of making up stories for entertainment, and was named “The Father of Lies" by his crititics (https://en.wikipedia.org/wiki/Herodotus). The Lincoln Humanities Journal Fall 2020 | Volume 8 11 navigate from memory to memory, juxtapose anecdotes and descriptions, and even do without any narration. (38-39; my translation) Today, we can add to this variety the proliferation of other media beyond print such as performance, audio-visual media such as film, and digital media in the form of blogs and YouTube videos. As a form of life-writing that encompasses all aspects of travel, fictional and factual, travel writing is at the intersection of multiple genres: writing, auto/biography, literature, life-writing, “biographical narrative” (John Keener 1).6 A working definition is that travel writing is a retrospective narrative by real people about their life away from home, and can be in any form (memoirs, diaries, oral testimony, eye-witness accounts, scientific discovery, etc.). The present essay collection focuses on life-writings in the narrower sense of print. But within this, as we shall see, the volume covers several national literatures (Algerian, American, British, French, Italian, and Spanish) and a variety of life-writing genres including studies of autobiographical and semi/fictional texts about travel. Real-Life Fiction: Modern Iterations In the first part of this collection, Ann M.Genzale, Catarina Nunes De Almeida, Neelam Pirbhai-Jetha, Fella Benabed, and Agnieszka Kaczmarek investigate contemporary narratives from the late twentieth and twenty-first centuries. A common concern of their contributions is travel narrative’s implications in cultural identity, national history and politics.